I den här artikeln beskrivs arbetet med en regional teateruppsättning som producerades och spelades under pandemivåren och -sommaren 2020. Syftet med undersökningen är att exemplifiera och synliggöra de komplexa sätt som coronapandemin och restriktionerna påverkat kreativa verksamheter och institutioner, samt att diskutera hur pandemin kan påverka teaterinstitutioners förändringsarbete. Artikelns övergripande frågeställning är: Vilka konsekvenser hade covid-19-pandemin för de olika produktionsprocesser som ingick i Dalateaterns uppsättning Andra sidan? Pandemin och restriktionerna kan paradoxalt nog sägas ha fungerat både som strategiska försvarare av status quo och taktiska utmanare av detsamma. Samtidigt som pandemin kunde användas för att legitimera stabila strukturer och arbetsmetoder, tvingade den fram avsteg från vissa av arbetets normer och rutiner. Pandemin försatte medarbetarna i ett slags pågående taktiskt läge, som av vissa medarbetare upplevdes som framför allt negativt och stressande, men av andra som en positiv, lustfylld upplevelse, som en konstnärlig och kreativ möjlighetshorisont.
The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.
Utifrån begreppet kronotop så analyseras Garmarnas och Hedningarnas strategiska bruk av semiotiska resurser. Banden brukar dessa resurser för att knyta an till en dåtid samtidigt som de distansierar sig från den: på så sätt skapar de unika världar utifrån bruket av den folkmusikaliska traditionen.
Welfare provision as a border control strategy is often discussed in relation to irregular migrants and refugees. However, this article focuses on EU migrants. Using discourse theory, it explores interviews with policy experts from four migrant-receiving EU countries. The aim is to identify policy discourses on deservingness articulated in relation to intra-EU migrants from four member states in Eastern Europe, to detect mechanisms that generate these discourses and to reveal how they relate to welfare chauvinism. The article uncovers contesting logics that move policy experts toward welfare-chauvinist assumptions, which might contribute to the discursive welfare exclusion of EU migrants.